British performance artist Millie Brown—famous for puking on Lady Gaga during the singer’s 2014 SXSW performance—will unveil her fourth solo exhibition in Los Angeles on April 10. Presented by Nicole Ehrlich and curated by Nathaly Charria, “Rainbow Body” will feature whimsical paintings all created “using almond milk, food coloring, stomach and hands”—a more pleasant way of referring to Brown’s unusual practice, where she vomits colored milk directly onto canvases (Amazing). This particular group of paintings pulls inspiration from Brown’s new home in California, collectively telling “the story of the Los Angeles sky, its past and its present, its light and its dark.” We caught up with Brown to dissect this exhibition, discussing abstract expressionism, enlightenment and Buddhist monasteries:

Millie Brown’s “Rainbow Body” opens with a private reception on April 9, hosted by Flaunt Magazine, and will run through April 23 at 8472 Melrose Place.

On “Rainbow Body:”

“‘Rainbow Body’ is a reflection of my time here in California. The palette’s inspiration came from the skies, shapes, architecture and energy of the city. Each of these paintings embodies that energy and my presence within it. In many respects, my paintings are the climax to a solitary performance of their own creation. Using my body to paint from the inside out with stomach and hands. The process is of equal importance to me as the result on canvas. I relate to the abstract expressionism movement, which in some senses was the birth of performance art itself. The artist behind the painting became a performer, projecting his/her self onto the canvas and opening up a whole new way to use the tools we possess.”

On the sky:

“Every day I climb a mountaintop, sit and meditate, while looking over the city and into the sky. I’ve become more fascinated by the sky than ever before in my life. The colors and combinations of shades are different from anywhere else—they inspire me to recreate their infinite beauty through myself and body.”

On living in Los Angeles:

“I’ve become used to working and creating in London for so long: The fast pace, the grayness and raw creativity surrounding me. I love it and thrive within that environment. In LA, it’s the polar-opposite, yet somehow a perfect complement and in some ways an antidote to what I’ve become accustomed to. I’ve spent more time in nature here and that’s influenced the inspiration within my work. I feel people in LA have a very different outlook on life and encourage ambition in others more than other places I’ve lived. I don’t create unless I’m in the right headspace to create a positive piece of work. I think this city has given me a more positive outlook and that translates on to my canvases.”

On her process:

“I used the same process to create these pieces as my previous ones, but this time I used a different technique with my hands and dripping to manipulate the paint, rather than leaving the splatters where they fell. I wanted to see all color on ‘Rainbow Body’—color from side-to-side. I wanted to get lost within the color-scape and movement.”

On enlightenment:

“Every performance I’ve ever conceptualized has pushed my own physical boundaries, opening up a vulnerable and often uncomfortable place mentally. I believe we can only grow mentally and spiritually by exceeding these self-made boundaries. Although we are physical beings existing in this physical realm, we are also way more powerful than we believe. Our minds are truly incredible tools. Every time I push past the discomfort into this state of mind, I find a sense of enlightenment from within—a place where my creative thoughts have no limits and my mind feels liberated.”

On Tibetan and Buddhist Theology:

“The concept of ‘Rainbow Body’ is deeply rooted in Tibetan and Buddhist theology. It is the observation from a third person’s perspective of another being gaining complete knowledge: Enlightenment. The person observes the other as a spectrum of colors all embodying a rainbow presence. My performances have roots in some spiritual practices. Much of my childhood was spent in Buddhist monasteries and spiritual retreats—I’ve drawn from these experiences, but do not relate personally to any one religion. I think it’s more powerful and natural to draw from all, taking the good from each as inspiration for life. These elements often seep into my work.”

Rainbow Body, presented by Nicole Ehrlich and curated by Nathaly Charria is the fourth solo exhibition by Millie Brown. An evolution of Brown’s most recognized performance work, Rainbow Body surveys the artist’s new home in Los Angeles. On view April 10 - 23, 2015 at 8473 Melrose Place, LA 90069.

Developed from the artist’s iconic yet non-traditional methods of painting from the inside-out, Rainbow Body presents a post-contemporary study on abstract expressionism within a California palette.

Using almond milk, food coloring, stomach and hands, Brown creates aesthetically whimsical paintings with a deep underlining of raw human emotion. Each piece tells the story of the Los Angeles sky, its past and its present, its light and its dark.

Viewing the body as a vessel for spiritual practice, Brown pushes her physical and mental boundaries to reach a state of enlightenment from which creative expression and healing derives.

Rooted in Tibetan Buddhist theology, Rainbow Body is the phenomenon of viewing spiritual transcendence from a third person perspective. Rainbow Body is based on three wisdoms, representing the three categories of paintings: ground, presence, and energy.

Tucked away from the hustle and bustle of Los Angeles’ prominent art neighborhoods is Michelle Papillion’s new contemporary art space in Leimert Park. Located in East Crenshaw, Papillion is the first on a block that vibes in a similar frequency to the precursors of the Harlem Renaissance. Michelle Papillion is not shy of referencing it and it is her intuition that has made her a pioneer. Amongst her artists is Lakwena Maciver, a London-based emerging painter who makes graphic work with colorful expressions.

Currently on solo exhibition at Papillion is Lakwena’s I Remember Paradise. An evolutionary body of work developed from the artist's piece in Women on the Walls, curated by Jeffrey Deitch for the Wynwood Walls in December 2013. The new work presents a survey on ephemeral nostalgia and the artifacts we leave behind. Amongst the works are poetic phrases such as “Built to Last” and “Just Passing Through.” Behind each painting is the echo of collaboration between Lakwena and her sister, a classically trained composer and poet who helped shape the lyrics to each piece. The paintings feel like songs, each made from bright colors and graphic designs that mirror a dreamer’s optimism juxtapose the melancholic undertone of insecurities within the subconscious mind.

There’s a place in England called Dreamland, it is in Margate by the sea. Dreamland is a theme park, like Disneyland, but the opposite of its name. There is nothing dreamy about it, it’s just sort of run down. I like the irony of that. It references people’s ideas of dreaming and sometimes when we dream we are not always feeling in tune.

This evening MARS (Museum as Retail Space) presents I’m in A Story, the gallery’s inaugural exhibition and Raúl de Nieves first solo show in Los Angeles. His work spans intricate figurative sculpture and painting, ornamental shoes and garments, multimedia performance and live music, with frequent references to high fashion, nightlife, Catholic symbolism, Mexican folklore, and fairy tales.

I’m in A Story continues the narrative of de Nieves and Colin Self's critically acclaimed chamber opera The Fool, a mystical allegorical journey centered around a mother, a child, an old women, and a dog/fool (played by de Nieves). The exhibition brings to life the precious relationship between the dog/fool character and the old woman character:

Old woman, you have lived a very beautiful life and Its time to let go of fear. Fearonly brings you farther from the self. With the loss of fear one can be awandering spirit, and soon will choose where the spirit is to go. Your old bodyand brain are not eternal, but your soul is.Old woman why are you shaking why do you shake when you close your eyesyou’re not awakefear not your body leaving you, for it is not your soulmy spirit wanders body to body, we’re on a journeyyou must continue onDo not be afraid, by giving me a chance to help you will have me by your side atall time

The body I have is light as a featheryou have given me a chance to continue with greater knowledgeto always be thinking with generosity, ethics, patience, diligence and most of allrenunciation.The message you have brought to me only makes me wiser.

I met Shelby Sells on a summer night turn sunrise in the Hollywood Hills. She was funny and a little punk rock so we got along right off the bat. Her voice is a little raspy which I can relate to, there’s a bond between chicks with raspy voices. Anyway, I heard her story that night about growing up in Idaho and finding her place in LA. It seems like most of us were young outcasts who refused to assimilate and are now making a living out of what made us weird. Shelby and I have shared many laughs and stayed in touch throughout our time in LA. As I learned more about her creative projects and watched them evolve, I became enamored with her work .

Shelby is a sexual anthropologist, photographer, personality, and muse. A contemporary Kiki de Montparnasse, she celebrates the joy, pain, trust, exploration and acceptance in sex, relationships, and love. She interviews, photographs, and shares her stories and that of other young creatives in her blog Pillow Talk. Shelby recently began shooting on 35mm color film and a VHS camera. Her style nods to Nan Goldin and Bunny Yeager. In documenting her subjects, they become friends. The interviews are intimate and honest, and her photographs and video reflect her subjects’ trust. I’m looking forward to sharing my recent interview and photo series with Shelby and some fun collaborations for 2015.

A PERFORMATIVE EXHIBITION • JANUARY 30TH, 2015 AT 8:30PM

Emily Mast presents a new performance piece at MaRS gallery in downtown LA, this Friday 1/30 at 8:30 pm. The performance will generate a sculptural set and painting that will travel to France for a solo show at la Ferme du Buisson later this year. The performance runs approximately 45 minutes & features Mast and Jos McKain. Champagne toast to follow.